Bagh-e Nazar, 17(82), 59-68 /Apr. 2020 DOI: 10.22034/bagh.2019.176139.4049

Persian translation of this paper entitled: اصطالح ادبی یا واکنش رفتاری!، »انگشت َگزیدن« در ادبیات و نقاشی ایرانی is also published in this issue of journal.

A Literary Figure or a Behavioral Reaction! A Review of ‌“angosht gazidan” * in Iranian Literature and Painting Ahmad Zare Abarghouei1, Seyyed Abbas Zahabi**2, Malek Hosseini3, Hadi Samadi4

1. PhD in Philosophy of Art, Science and Research Branch, Islamic Azad University, Tehran, Iran. 2. Assistant Professor, Science and Research Branch, Islamic Azad University, Tehran, Iran. 3. Assistant Professor, Science and Research Branch, Islamic Azad University, Tehran, Iran. 4. Assistant Professor, Science and Research Branch, Islamic Azad University, Tehran, Iran.

Received: 25/03/2019 ; revised: 13/07/2019 ; accepted: 25/07/2019 ; available online: 20/03/2020 Abstract Problem statement: Surprise, shame and guilt are considered to be human emotions. Reactions to these emotions are subject to biological and cultural issues. Looking at the Iranian art and literature in the context of history, it seems that one of the reactions of amazed and regretful people in the Iranian culture has been angosht‌ gazidan, as it can be found numerously in ancient Iranian texts, ancient poetry, and painting. Since this reaction can only be seen in the cultural history of Iran, it should be attributed to the specific culture of Iranians. Research objective: The objective of this research is to find the historical course of ‌angosht gazidan in Iranian literature and painting and examine whether this reaction has been derived from the behavioral reaction of Iranians. Research method: This research applies the descriptive-historical method by reviewing library sources and documents to study the term angosht‌ gazidan in ancient Persian literature and painting. It is tried to select and study at least one literary and artistic sample related to the subject from each century. The sample will be compared to the biographies of travelers about the behavior of Iranians who visited Iran during these years in an emotional state to find out whether the gesture is a literary figure or a behavioral reaction. Conclusion: ‌Angosht gazidan is merely a literary term. It has never had any real manifestation in the Iranian society. None of the travelers who wrote about Iran and Iranian culture in the context of history have mentioned this reaction in their behavior. The poet has benefited from this metonymy for exaggeration and its beauty. This has made it inclusive throughout the Iranian literature. The association between Iranian literature and painting has led to the depiction of this gesture and its objective presentation in the painting. Keywords: Iranian literature, Iranian painting, Literary figure, Behavioral reaction, Angosht‌ gazidan.

** Corresponding author: [email protected], +989124063115

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Introduction has occurred in Iranian societies in the course of Culture is effective in determining countless human history. To this end, examples of this expression will be issues. Cultural influences shape human thinking and examined in Iranian historical and literary documents behavior. To the extent that they influence behavioral such as poetry, ancient literary texts, and painting to responses to emotional situations that seem to be clarify when it was formed in Iranian literature and how completely unconscious and uncontrollable. For it appeared in Iranian painting. Referring to travelogues example, by reflecting on the reactions that a surprised related to the designated historical periods in the person may show – such as raising eyebrows, opening Iranian Plateau, it will also be examined whether this the mouth, pausing, and rounding the eyes – and the expression was solely visible in literature and painting similarities in different cultures, these reactions appear or it was recorded by the travelers as a behavioral to have biological roots, similar to other gestures that response in the Iranian cultural context. appear on the face of an anxious and scared person. However, it should be borne in mind that, even in Research Background these similar cases, there are primitive ethnicities that In an article titled “An Analysis of the Function are different from others. For example, some of the of Non-verbal Communications in Shahnameh” Melanesians in the Independent State of Papua New published in Persian Language and Literature, Guinea consider the gestures of a fearful person as Ghasemzadeh, Saffari, and Alinaghi (2018) concluded those of a threatening person (Crivelli, Russell, Jarillo that the representation of body language of Shahnameh & Fernández-Dols, 2016, 12403). This suggests that characters was designed to arise reflection on the culture can influence the representation of reactions. individual and social behavior patterns of Iranian and However, these reactions are similar and sometimes non-Iranian ethnicities in recognition of Iranian cultural identical, at least in a some part of human societies, to identity. the extent that researchers who follow the biological It was then closer to metaphor and symbolism. In the theory think that they are inherent. Nevertheless, article titled “Analysis and Decoding the Nonverbal there are other reactions and gestures that are purely Communication in Sadis Boostan” published in the conventional and symbolic and are clearly influenced Bustan-e Adab journal, Nikdarasl and Ahmadianipai by cultures. “Therefore, some non-verbal actions may (2016) concluded that Saadi was well aware of the be culture-specific and different in other cultures or use of non-verbal communication in the form of body have different manifestations. For example, upward language and functions of objects language – such as thumbing in Western culture is often a sign of victory, gifts and assets, clothing and jewelry – and paralanguage but the same concept is shown with raised pointing elements – such as tone, spoken language, etc. finger in Iranian culture” (Ghasemzadeh, Saffari & Being aware of their impact and linking them to the Alinaghi, 2018, 163). ‌Angosht gazidan seems not to speech, Saadi has made more sense in his poetic space. be a biological phenomenon. It is entirely subject to To date, there has been no comprehensive research cultural issues specific to Iranian culture because it is on ‌angosht gazidan in Iranian painting as a merely only observed the cultural geography of Iran. Thus, literary figure or a behavioral reaction. The results by examining this expression in the context of Iranian of such research may be useful in the fields of history, it will be clear how long it has come into being psychology, art history,and literature. in Iranian literature and painting and how long it has lasted. The next point to note is whether the expression Research Method was adapted from Iranians’ behavior in times of This study, which is a fundamental research in terms excitement or it was merely a literary figure. To answer of purpose, attempts to clarify the gesture of angosht‌ this question, one has to find out whether this reaction gazidan as a surprise reaction in the context of the

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history of Iranian art and literature. The research that emotional expression is inherent and universal” was conducted through the descriptive-historical (Harris, 1995, 18). Then, if angosht‌ gazidan is to be and correlational method. Research data on painting, considered as an innate action, one of its prerequisites psychology, literature, and art were extracted from will be its universality. Looking at other societies in library and documentary sources through observation the context of history, it will be clear that this term and taking notes. In this regard, it has been attempted does not exist in any culture other than Iran’s. Some to study at least one literary and artistic piece from researchers believe that angosht‌ gazidan is some kind each century related to the subject and compare them of non-verbal behavior. “One of the metaphors used to the travelers’ accounts of the Iranians’ behavior in in the literature that is based on nonverbal behavior is emotional states. In this way, it could be found out angosht‌ gazidan and biting the dorsal side of the hand’ whether the term was merely a literary figure or a that shows one’s regret. Sometimes angosht‌ gazidan behavioral response of Iranians to emotional situations. may indicate surprise”(Nikdarasl & Ahmadianipai, 2016, 188). However, it should be remembered that ‌Angosht gazidan and behavioral reactions gestures such as raised eyebrows, open eyes and mouth In Iranian culture, the term angosht‌ gazidan means “to at the time of surprise are also non-verbal gestures on be amazed, astonished, to sigh and regret” (Dehkhoda, the face (Reisenzein, Meyer & Schützwohl, 1996, 4). 1998, 3590-3591). There are many theories about “Facial reactions exist in all emotions” (Franken, 2005, human emotions. Some have considered “anger, 410). These gestures have innate roots, but angosht‌ disgust, fear, happiness, sadness and surprise” to be the gazidan has cultural and social roots. Can this social six main emotions in humans (Kohler, Turner, Stolar, behavior be considered as a way of concealing the Bilker, Brensinger, & Gur, 2004, 273). However, excitement so that others are not aware of the shock Izard introduces ten emotions based on his distinct or its severity, or consider it a kind of polite behavior? emotion theory: “joy, interest-excitement, surprise, Things like increased heart rate, hypertension, inability fear, sadness, anger, disgust, contempt, shame, and to understand, analyze and remember appropriate guilt” (Izard, 1991, 74). On this basis, we can refer operating standards, freezing and loss of awareness to this term as the emotion of surprise, shame, and are other symptoms that have psychological not social guilt in humans. During his research on emotions, roots (Bürki-Cohen, 2010, 74). Darwin (1859) concluded that emotions help animals Given this, we can call angosht‌ gazidan a kind of and humans adapt to their environment (Reeve, nonverbal cue that was deliberately showed by the 2010, 335) and that head movements are effective in puzzled or regretful person. However, the same showing the inner emotions of individuals similar to question is raised as to why such cues are not used animals (Pease, 2016, 102-103). Hands are also very today. To understand this, it is best to look at the important in instrumental nonverbal communication historical background of the term in Iranian cultural and are more involved with the brain than other history to determine the cultural areas in which it organs in establishing nonverbal communication existed and whether it was observed in the society and collaboration (Pease & Pease, 2008, 42). Can it at the time. be thought that angosht‌ gazidan is a type of human adaptation to an emotional situation that reduces the ‌Angosht gazidan in Iranian literature and vulnerability of an open mouth with a hand? Can it painting be perceived as a subconscious behavior that humans ‌Angosht gazidan is only visible in Iranian literature do in an involuntary way to protect themselves? up to the Fourteenthcentury AD. Later, it appears in “Darwin was amazed at the resemblance of emotional Iranian painting. Therefore, its history is divided into states of the face among various nations and argued two parts: before and after painting.

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• ‌Angosht gazidan before Iranian Painting (9th surprise too. These two gestures are completely to 13th centuries AD) Iranian. This gesture has been repeatedly depicted The earliest use of this term is to be found in in ancient Iranian paintings. However, one must Rudaki’s poetry in the ninthand tenthcenturies AD: distinguish between a display of surprise and regret. Jesus saw one man killed and fallen on a path / He People bite the side of their finger as an indication of bit his fingers in surprise (Rudaki, 2001, 10). Some regret and remorse, while they bite their fingertip to believe that this verse is Nasir Khusraw Qubadiani’s show surprise” (Hasheminejad, 2007, 17). However, it (Hasheminejad, 2007, 17). If so, then this is related is almost impossible to distinguish between these two to the eleventhcentury AD. Nasir Khusraw has a terms/gestures in Iranian painting from the image and valuable travelogues describing his journey from the depicted facial expressions, because the subject is Merv to Balkh from 1046 to 1053 AD, passing painted precisely the same way in the two modes. The through several cities of Iran at that time and only way to recognize these emotions is to refer to representing many places and moods of the people the theme or the passages inscribed in the image. This (Qubadiani al-Marvazi , 1956, 15-16). Interestingly, has been repeated many times in Iranian literature. Nasir Khusraw not only made no reference to this For example, take the following two excerpts from behavior amongIranians but did not also use the Kashf al-asrar wa ‘uddat al-abrar, which dates back term in his travelogue despite using it in his poetry. to the TwelfthCentury AD: “The fingers of regret are He uses “surprise” verb instead of ‌angosht gazidan at his mouth wondering! The service is here and [her] throughout his travelogue. “And there I saw the love is there!” (Meybodi, 1992, 710). In this example, great buildings made from rocks that shall surprise we can detect astonishment and regret at the same whosoever sees it” (ibid, 80). The Great Ferdowsi time, indicating that the two states are sometimes has also an example of this term conveying regret: very close to each other in Iranian literature. Other One unnamed man must be chosen / to prevent biting examples of ‌angosht gazidan as an indication of our fingers later (Ferdowsi, 2001, 60). According to regret can be sought in the Twelfth-century Kelile this verse, a regretful person should show a gesture o Demne: “When the lion finished the cow, she like ‌angosht gazidan. With a little reflection on the was very regretful at the haste and bit her fingers behavioral actions of current society, it will be clear in regret”(Monshi, 2010, 97). Iranian literature in that a person who has committed an error and is now the Thirteenthcentury AD has also benefited greatly aware of their mistake will never put their finger from this term: “All the angels wondered in surprise in their mouth as a sign of regret. Instead, they put while biting their fingers...” (Razi, 2001, 70). “The their head down on their knees while covering their shepherd returned back from the plain and told of the faces with their hands or bite their lips. If regret is plenty of the milk of the sheep while the hearers were considered to be associated with the two emotions astonished with their finger in their mouth” (Varavini, of shame and guilt, it must be considered as a self- 1990, 50). A Thirteenth-century travelogue about Iran conscious emotion related to the ‘self’. In these is Marco Polo’s. Although this travelogue does not emotions, the pointing finger points to the self as the provide a detailed account of the people’s behavior guilty or responsible person (Tangney & Dearing, and is more about geography and the routes of 2002, 76). This may be the reason why in Iranian movement (Polo, 1992, 15-17), there is no mention of literature the index finger is directed towards the this behavior among Iranian people. regretful person. It is bitten instead of the lips to indicate the severity of the individual’s blame. Some After appearing in Iranian painting (14th believe that these two gestures are different. ‌Angosht century AD) gazidan is an indication of regret. However, it means The term continues to be used in the Fourteenth

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century AD. An example of the term that connotes regret is to be seen in the following line by Hafez: how long can I sit for the smell of a friend In this darkness / Sometimes fingers on the mouth sometimes head on the knees (Hafez, 2000, 758). In this line, Hafez takes the two movements as a sign of remorse, reinforcing the doubt that ‌angosht gazidan may be a kind of behavioral response. Another example of the term used in the sense of wonder can Fig. 1. Excerpt from a woman painting complaining about her husband, be found in Salman Savoji’s poetry: As the wavy gem Jahez’s al-Hayawān, Ambrosiana Library, Milan. Source: Akasheh, 2001, 357. saw the palm of your hand / you bit your fingers in astonishment (Savoji, 1992, 600). An illustration of Zank both became astonished when they saw the this term can be seen in Iranian-Islamic painting in event” (Anonymous, 1975, 93-95). As mentioned this century. For example, one should note a copy of in the book, Ardeshir and his wife was surprised to theKitāb al-Hayawānby Al-Jahiz in 1300 AD, dating find that the cup was broken. In addition to drawing back to the late Ilkhanid period (Fig. 1). the emotional states of two characters, the artist has The painting depicts a woman complaining to two also used the fingers to express these states. It seems friends while her friends listen to her amazed and that with the visual exemplification of the term in impressed. The surprise is indicated by one’s open the painting, this behavioral gesture must have been hand and the other’s ‌angosht gazidan (Akasheh, made in the society of the day in order for the artist 2001, 354-355). As pointed out by Akasheh, the to depict it. However, with reference to Ibn Battuta’s gesture is one of the ways to express one’s surprise in travelogue, which belongs to this century, it becomes painting because, in traditional Iranian painting, there clear that this reaction was not a special gesture of is no significant difference between individual faces Iranians, because it has not been mentioned even and it is difficult to distinguish facial expressions. once in his travelogue. Interestingly, Ibn Battuta uses It should be noted, however, that the expression “ajab” (surprise) to express the audiences’ surprise, of emotional states of the face can be observed in a noun that has its roots in Arabic. For example, some versions of these paintings. An example is the the story of Sheikh Heidari’s assassination in this Demotte Shahnameh or Great Ilkhanid Shahnama work is as follows: “When the hangman’s sword (Pakbaz, 2005, 62). This Shahnameh was written fell upon him and did not work on him, the people in 1328 AD (Blair & Bloom, 2002, 62). Although were surprised” (Ibn Battuta, 1997, Vol. 2, 112). It some examples of facial emotions can be found in is stated in the original text that “And the wonder this Shahnameh, the artist has used ‌angosht gazidan of the people...” (Ibn Battuta, 1987, Vol. 3, 192). An representation in their painting for emphasis. For this example of this term in the fifteenthcentury AD is to purpose, we should refer to the portrait of Ardeshir be found in Kherad Name-ye-Eskandari (Alexander’s and his wife (Fig. 2). Book of Wisdom), where the Chinese Ruler sent a Ardeshir’s wife, Ardavan’s daughter, poured humble gift to Alexander and “When Alexander venom in Ardeshir’s cup while being provoked by saw those gifts / He bit his fingers in astonishment” her brother. The cup fell from Ardeshir’s hands and (Jami, 2007, 972). Examples of this term in the broke before drinking (Rastegar Fassaei, 2000, Vol. Sixteenthcentury AD can be found in the verses of 1, 43). The artist has drawn this very moment. In Mohtasham Kashani: Mohtasham! Now he is excited the Kar-Namag i Ardashir i Pabagan )Book of the about my doings / I bite my fingers in regret of what I Deeds of Ardeshir(, it is stated that “Ardeshir and did (Mohtasham, 2008, 587). Another example of this

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Fig. 2. Ardeshir and his wife, Demotte Shahnameh. Source: Pope, 1999, 393.

term can be found in the paintings of the Shahnameh one skillful Farhad did not remain this world” (Saib of Shah Tahmasp. Bahram Gor strikes two zebras Tabrizi, 1986, Vol. 3, 1212). Another example of the with an arrow and the soldiers are amazed at this use of this term is in seventeenth-century poetry: “I performance. This Shahnameh dates back to about had a vain illusion beyond the veils of fantasy / at 1525-1535 AD (Grabar, 2011, 98-99). At the top of the the time of my last breath I remained with a finger painting, one has bit his fingers in surprise (Fig. 3). on astonished lips” (Bidel Dehlavi, 2008, Vol. 2, Despite the use of this term/gesture in literature and 608). Another instance written/drawn in the late painting in the fifteenthand Sixteenthcenturies AD, seventeenthor early eighteenthcentury is the painting this behavioral response has not been documented of Sohrab’s death at the hands of Rostam. Mo’en by any of the travelers who have traveled to Iran Mosavver’s work is another example of ‌angosht during those years. Visitors such as Giosafat Barbaro, gazidan in the paintings of the Safavid period and the Ambrogio Contarini, Catering Zeno, Giovanni Maria Isfahan school, which shows a sense of regret (Fig. 4). Angiolello, and Vincentio D’alessandri who came to This work was done in 1649 AD. “Despite Sohrab’s Iran during the reign of Uzun Hasan, one of the most scar, there is no sign of pain in his face. Only the powerful rulers of the Aq Qoyunlu dynasty, and Shah inflamed clouds, the black horse’s impatience, and Tahmasp, the second ruler of Safavid dynasty, and the bitten fingers of the crew tell the depth of the have written about geographical areas, temperament, catastrophe” (Canby, 2003, 111-112). Looking at behavior, and customs of Iranians, especially the work of explorers/travelers in these centuries courtiers, (Barbaro, Contarini, Zeno, Angiolello & will make it clear that no one has mentioned such D’alessandri, 1970, 9-10), have never recorded such a a reaction among Iranians. One example is The behavioral action. For example, somewhere is written Travels of Pietro Della (Valle Pietro Della Valle’s that “It made the great crowd look upon them with voyage to Iran( which began in 1617 AD and lasted astonishment” (ibid, 57). for six years, and coincided with the reign of Shah “Steel ax cuts the finger of regret / It is a pity that Abbas the Great. His travelogue contains important

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information about Iran and the mood of the people of are many examples of the use of this gesture in the Safavid era because he has played an important Iranian painting since the FourteenthCentury. This is role in recording the details of Iranian behavior rooted in the profound impact of Iranian literature (Della Valle, 2001, 12). However, he does not point to a specific behavior/gesture in Iranians that is related to surprise. “When I answered them that our old men were sixty, seventy years old, some of them were very surprised” (ibid, 650). Between 1632 and 1668 AD Tavernier made six trips to the East during which he visited Iran more than nine times. His first trip was during the reign of King Safi, the younger grandson and direct successor of King Abbas the Great. His other trips weremade during the reign of King Abbas II and King Solomon (Tavernier, 1990, V-Z). Although he became deeply familiar with the Safavid Iranian society and its habits, customs, thoughts, and opinions, the ethics and behavior of various classes and showed them in his travelogue (ibid, D-H), he made no reference to ‌angosht gazidan at the time of surprise among Iranians. “The Fig. 3. Hunting of two zebras with one arrow by Bahram Gor, Shahnameh poor gardener bought the cow and after three days of Shah Tahmasp. Source: Ferdowsi, 2011, 177. the animal died and made its owner surprised and a pitiful” (ibid, 615). The term is also used in the nineteenthand Twentiethcenturies, examples of which are: “A valiant who at the day of the Angel of Death’s grudge / has his fingers at his mouth in bewilderment” (Qaani, 2008, 176). “When he lighted the cigarette and poked / Rostam bit his fingers in astonishment (Bahar, 2008, 383). An example of this term in this century in the form of lithography is to be found in a version of Nizami’s Quinary (Panj Ganjor Khamsa), which illustrates a continuation of the tradition of painting in expressing moods and behaviors (Fig. 5). The work dates back to 1895 AD. With his large army, Dhul-Qarnayn passed in the vicinity of the Gog and Magog tribe and observed them. Hence, a display of surprise mingled with thinking ‌angosht gazidan by Dhul-Qarnayn and his companions emphasizes this (Lal Shateri & Nazemianfard, 2016, 108). Specific Iranian gestures, such as ‌angosht gazidan to display amazement and wonder are common patterns in Fig. 4. Rostam and Sohrab, from Ferdowsi’s Shahnameh, Mo’en paintings/lithographs (Aghapour, 2002, 202). There Mosavver, Isfahan. Source: Canby, 2003, 111.

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on Iranian painting, because “literature and painting widespread use of this metaphor in Iranian cultural have been linked together from the early times; history has led some scholars such as Hashminejad writing has initially used drawing as a tool, that is why (2007) to mistakenly believe that this literary term in the Persian language the word “negashtan/writing” was a behavioral reaction in emotional situations has long been used in the sense of writing and still among Iranians that was likely lost due to change continues to be used” (Alboghbish & Ashtiani Araghi, over time. Examining this term/gesture in the context 2018, 32). Like many other literary influences, which of the history of Iranian literature and painting, it differed in different eras such as the Qajar period, the became clear that the use of this literary figure has beauty spot, tress, ringlets, etcin the paintings were been going on for almost a thousand years and has taken from literature (Alimohammadi Ardakani, never been removed from Iranian literature. The 2013, 143). Here, too, the artist has used this literary association of Iranian literature with painting gave term to express emotional states in Iranian painting. this imaginary gesture an objective manifestation that has continued up to now in traditional Iranian Discussion painting. This makes it clear that the term is merely According to what has been said, we can argue that a literary figure not indicated by Iranians’ behavior, ‌angosht gazidan is one of the reactions that Iranian because travelers visiting Iran in the context of artists and poets have used throughout history to history have not referred to such behavior in the illustrate the reaction of people in emotional situations Iranian people and have not even used it as a literary such as surprise or remorse. This term began to be figure. It is because this literary term is specific to used in literature from the ninthcentury AD and in the Iranian language and culture. Examples of these Iranian painting from the Fourteenthcentury AD. terms are also found today in the street literature: Since the invention of the term in literature and “Spit drying in someone’s mouth: surprised (from art, its use continued throughout the centuries. The excess surprise or admiration), confused” (Ketabi, 2004, 179). Needless to say that an exaggeration has been made to show the intensity of the action because one’s mouth will not left open in wonder until it is dry! More exaggerated examples are: Jaw-dropping from the intensity of surprise, grow horns from surprise. This Doesn’t happen in reality. According to Table 1, the term has existed in Persian poetry and prose since the ninthcentury AD. It appeared in painting in the Fourteenthcentury AD. As there has been no reference to the term/gesture in travelogues, it is merely a literary term.

Conclusion Angosht gazidan should be regarded as a literary term in Iranian cultural history that conveys a sense of surprise and remorse. However, some closely related terms Angosht be/dar/bar dahan/dahan/ dandan/lab avardan/dashtan/gereftan/khaeedan (have/ Fig. 5. Dhul-Qarnayn (Alexander) observing the strange Gog and Magog, Nizami’s Quinary . Source: Lal Shateri & Nazemianfard, 2016, 113. put/bring finger to/in/on mouth/tooth/lip) exist that

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have different meanings such as humility, regret, Majnun and a miniature by Muzaffar Ali as a case. Comparative thoughtfulness, respect, fear, silence, etc. ‌Angosht Literature Research, 6 (1), 31-58. gazidan is widely used in Iranian art and literature. • Alimohammadi Ardakani, J. (2013). Hamgami-ye adabiat va naghashi-ye qajar [The Association between Qajar Literature and It is considered as a part of Iranian culture. It has Painting]. Tehran: Yasaveli. been presented in Iranian cultural history since the • Anonymous. (1975). Karname-ye ardeshir-e babakan [Book of earliest centuries of Persian poetry and literature. Its the Deeds of Ardeshir] (B. Farehvashi, Trans.). Tehran: University of visual representation is evident in Iranian painting Tehran. from the Fourteenthcentury AD. However, the use • Bahar, M. T. (2008).Divan-eashar [The Divan]. Tehran: Negah. • Barbaro, G., Contarini , A., Zeno, C., Angiolello, G. M. & of the term is not derived from Iranian behavior: it is D’alessandri, V. (1970). A narrative of Italian travels in Persia in the merely a literary figure that conveys either a surprise 15th and 16th centuries (M. Omidi, Trans.).Tehran: Kharazmi. or pity. The related gesture has not existed in daily • Bidel Dehlavi, A. (2008). Ghazaliyat-e Bidel Dehlavi’s Sonnets. life of people, as no traveler/explorer in the context Edited by A. Behdarvand. Shiraz: Navid Shiraz. of Iranian cultural history refers to this behavioral • Blair, Sh. & Bloom, J. (2002). The Art of Islamic Architecture (Y. Azhand, Trans.). Tehran: SAMT. reaction among Iranians. The poets/writers have • Bürki-Cohen, J. (2010). Technical challenges of upset recovery used this metaphor for aesthetic purposes and made training: Simulating t he element of surprise. Proceedings of the it common among authors. The term became so AAIA Modeling and Simulation Technologies Conference. popular that was used in Iranian cultural history for • Canby, Sh. (2003). Persian painting (M. Hosseini, Trans.) Tehran: centuries and still continues to be used. Since Iranian Art University. • Crivelli, C., Russell, J. A., Jarillo, S. & Fernández-Dols, J. M. painting is heavily influenced by Persian literature, )2016(. The fear gasping face as a threat display in a Melanesian the term can be seen in Iranian painting as well, society. PNAS, 113 (44), 12403-12407. though it took centuries for painters to visualize • Dehkhoda, A. (1998). Dehkhoda Dictionary. Vol. 3. Tehran: this gesture in the mind of the poets/authors on University of Tehran Press. the canvas. Altogether, this term is a literary figure • Della Valle, P. (2001). Cose e Parole nei Viaggi di Pietro Dellu Valle (M. Behforouzi, Trans.) Tehran: Ghatreh. not derived from the behavior of individuals. The • Ferdowsi, A. (2001). Shahnameh. The complete version based on way the term was embodied in Iranian history, both Moscow print. Tehran: Peyman. visually and literally, has been the same throughout • Ferdowsi, A. (2011). The Shahnama of Shah Tahmasp, the Persian the centuries without any change. The tip of the book of Kings. Newhaven and London: Yale University Press. forefinger is placed in the mouth between the teeth • Franken, R. (2005). Human motivation (H. Shams Esfandabad, Gh. Mahmoudi & S. Emamipour, Trans.) Tehran: Ney. and bitten, conveying a sense of regret or surprise. • Ghasemzadeh, S. A., Saffari, M. Sh. & Alinaghi, H. (2018). An Analysis of the Function of Non-verbal Communications in Endnote Shahnameh. Journal of Persian Language and Literature, 26 (84), 157-184. * ‌Angosht gazidan is a literary term in Iranian literature that expresses the meanings of surprise, wonder, remorse and regret. In this term, the • Grabar, O. (2011). Mostly miniatures: an Introduction to persian person bites his finger while gazing at the event that has caught his painting (M.Vahdati Daneshmand, Trans.). Tehran: Farhangestan-e attention. This term is a specific term in Iranian culture and language and has no translation in English language, so this article uses the ‌angosht Honar. gazidan without any translation. • Hafez, Sh. (2000). Divan-e Hafez. Tehran: University of Tehran. • Harris, P. (1995). Facial expressions in infancy (1). (Sh. Shomali,Trans.). Tarbiat, 11 (6), 17-22. Reference list • Hasheminejad, Gh. (2007). Jostejui dar bazyaftan-e manabea • Aghapour, A. (2002). Ketabha-ye mosavar-e chap-e sangi namayesh dar iran [Seeking to recover the sources of the play dar iran [Lithographic books in Iran]. Iranian journal of in Iran, the basic motifs in the representation of gestures and Anthropology, 1 (2), 199-204. movements].Golestan-e Honar, 3 (8), 7-21. • Akasheh, S. (2001). Islamic Painting (Gh. Tahami, Trans.). 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HOW TO CITE THIS ARTICLE

Zare Abarghouei, A., Zahabi, S. A., Hosseini, M. & Samadi, H.. (2020). A Literary Figure or a Behavioral Reac- tion? A Review of angosht‌ gazidan in Iranian Literature and Painting. Bagh-e Nazar, 17(82), 59-68.

DOI: 10.22034/bagh.2019.176139.4049 URL: http://www.bagh-sj.com/article_103758_en.html

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